Jewels were always part of human culture. Even from the times when humans first started using clothes and tools some 100.000 years ago, jewels were produced from any kind of materials that were available – stones, animal skins, feathers, plants, bones, shells, wood, and natural made semi-precious materials such as obsidian. As the time went on, advancing technology enabled artisans to start taming metals and precious gems into works of art that influenced entire cultures and many modern jewelry styles. However, even with all advancements of metallurgy and gem processing, the purpose of wearing jewelry always remained the same – they enabled wearer to express himself non-verbally, showcase wealth, rank, political and religious affiliation or affections toward someone. This enabled jewelry to become timeless and a target for constant development and refinement.

Development of early jewelry can be roughly divided across three ancient civilizations – Egypt, India and China. Egypt and Mesopotamia set standards in metallurgy, gem collecting, and glass manufacture. Their several thousand year long tradition of jewelry production laid a solid foundation for all European civilizations that came after them, and their unique style affected fashion trends even four thousand years later.

India however managed to develop such a connection to jewelry that it became integral part of their daily life and religion. Since they were the first who managed to conquer the art of gold gathering and processing, they develop art of jewel making much earlier than anyone in their environment. This made them one of the most sought destinations for trade, which eventually became driving force for the incredible expansion of European civilization during the Age of Discovery. On the far side of the world, China managed to become driving force in developing of arts and their influence slowly spread their unique style across entire Asia. Chinese style that is focused on scenes of nature, animals and dragons is today still in high popularity, and continues to be developed with each passing year.

Thousands of years of advancement enabled jewelry to spread from the exclusive art form of the rich to the common personal items of adornment, which are today used by everyone around the world to express themselves in various visual fashionable ways.

Developing in the last years of the 19th century, the Arts and Crafts movement was based on a profound unease with the industrialised world. Its jewellers rejected the machine-led factory system – by now the source of most affordable pieces – and instead focused on hand-crafting individual jewels. This process, they believed, would improve the soul of the workman as well as the end design.

Arts and Crafts jewellers avoided large, faceted stones, relying instead on the natural beauty of cabochon (shaped and polished) gems. They replaced the repetition and regularity of mainstream settings with curving or figurative designs, often with a symbolic meaning.

The designer of this brooch, C. R. Ashbee, was a man of immense talents and energy and a defining figure in the Arts and Crafts Movement. In 1888 he founded the Guild of Handicraft in the East End of London with the intention of reviving traditional craft skills and providing satisfying employment in a deprived area of the city. Trained originally as an architect, he is known also for his highly innovative furniture, metalwork, silver and jewellery designs.
The peacock was one of Ashbee’s favourite and most distinctive motifs and he is known to have designed about a dozen peacock jewels in the years around 1900. Family tradition is that this brooch was designed for his wife, Janet.

Women’s are passionate about Jewellery as it represented a symbol of femininity and even social status. Jewellery has always made women feel beautiful and confident. The jewellery items are made of diamonds, pearl, gold, silver or other precious materials, the importance of Jewellery has always subsided in its ability to add to a women’s natural beauty.

Beauty that is skin deep is always subjected to praise. A glance at the past reveals that it was the Jewellery that had been radiating this inner beauty by adorning the neck, forehead, ears, hands, waists and feet of both the genders. It is even today that young to middle aged women are crazy about Jewellery. Skilful hands mold precious metals to create magnificent collections of necklaces, earrings, bracelets and even fashion Jewellery. When these artistically curved metals find the right place on a woman’s naturally curved figure, they get their due respect and the woman glows with a change in her body language. Gone are the days when diamond, valuable stones, gold and platinum were the only metals to get the shape of Jewellery. Nowadays, workingwomen are beatifying themselves with imitation jewellery that have the appearance of the original metals. They find themselves trendy, smart and of course secure in these imitation jewelries.

In fact, all you women out there can also consider Jewellery as excellent gift ideas as you can gift your husbands gold chains, diamond tie pins, key chains and lots of other elegant items that speak volumes about your sentiments. The prices that are offered by most of the companies do not vary to large extent but it is wise to make comparisons before actually venturing out for purchase. Jewellery has a lot to do with tradition so the designers need to keep in mind the traditional value of each of the items before deciding a shape for them. Women are generally very choosy about designs and they tend to put any amount for the one they like most. So, where quality plays the dominating role it is expected that the designers should be meticulous in preparing them. Expensive Jewellery might hype the social prestige but wearing them everyday to the working place might not be safe at all. So, women who step out of home, apart from socializing, can hunt for exclusive series of Jewellery those are cheap yet fashionable. Necklaces and earrings made up of bamboo, wood, ceramics and plastic can be bought in bulks and used everyday by matching them with the dress.

Since working women prefer to give attention to the style and not much metal, Jewellery that are made of ceramics, cheap stones, wood and clay are gaining popularity. Women today are conscious about their style and this rise of consciousness has been noticed irrespective of geographical locations. At this juncture, the jewelers are making good money by curving their creativity in beautifying these women. A woman is inseparable from Jewellery. There is hardly any woman who can deny the attraction of the glittering Jewellery. So, excellent pieces of fashion Jewellery bought from the most reliable source can fulfill her desires and make them smile.

The question of limitation is caught up in the question of freedom and choice. In a condition of absolute freedom, fictitious as that may be, every option is presented and every option may be chosen. But such freedom is useless until one consciously selects an option, thereby eliminating other possible choices from consideration. By taking action, freedom is voluntarily restricted. In the end, freedom without action is pointless, and action without choice is impossible. This is the paradox of liberty: freedom become useful only when limits are accepted. If you’re just standing around in a state of being free, contemplating your choices, you’re not taking any action. Your condition would be paralysis. A life devoted to keeping all options open at all times is meaningless. Such a life would be devoid of sustained action and commitment. Ultimately, self-imposed limits are necessary.

I am not speaking of limits imposed on the individual, but rather choosing limits willfully. Voluntary choice is the crucial distinction here. Most people have felt restricted by a teacher, or a job, or some voice of authority. They feel compelled to act under duress, and their options are involuntarily curtailed. But I’m talking about choices that are made freely, and limitations that are accepted voluntarily.

I suspect the rhetoric of limits is appropriate to the present age. After all, we are learning what we get when we refuse to recognize restrictions. Limitless resources? Limitless oil and gas? Limitless air into which to dump pollutants? The lesson is becoming clearer, at least in the realm of ecology. The physical sphere is finite, and should be carefully preserved. I believe there might be a parallel condition in the artistic realm. The application of some structure and restrictions to the creative spirit is not necessarily evil.

In fact, many people are attracted to the crafts because they are comfortable with the notion of limits. They like the idea of a boundary within which to work, and they’re not terribly interested in crossing those boundaries. Instead of the metaphor of constant advancement into foreign territories, the operative metaphor in the crafts is more like a classroom assignment. One accepts a problem and a series of limitations, and then is expected to find a creative, intelligent solution. The craftswoman doesn’t see limits as a prison, but as a structure. She enjoys the technologies of a single medium because it restricts possibilities, but within those restrictions more possibilities arise as the material is mastered. The craftswoman also appreciates a traditional context because it gives her a specific history and heritage: potters make pots; glassblowers make vessels; jewelers make jewelry. All are responding to very particular materials and histories. They are given one arena within which to work, and another much larger one to ignore (or employ) at will. The restrictions inherent in craft bring focus and clarity.

Stripped of familiar codes and functions, jewelry has become a vehicle for purely artistic issues. Just as the rectangular canvas was freed from representation and became an arena for the exploration of a range of other themes, so has jewelry become a device for conceptual exploration and personal expression. The subject might be reductivism (Emmy van Leersum), social critique (Otto Kunzli), or the limits of jewelry itself (Pierre Degan),* but in each case jewelry becomes a platform for the artist’s agenda.

A friend of mine once said, “Jewelry is a small vehicle.” I think it’s a very accurate statement. As jewelers look to the ambitions of painting, sculpture, performance and installation, they find that many of the concepts originated in these art forms are poorly suited to jewelry. For instance, artists in the 1980’s found that photography was a perfect device to illustrate theories about how mass-media images control the construction of the self. Cindy Sherman’s famous series of self-portrait photographs, in which the artist’s identity seemed fragmented and completely flexible, is only one example. Although jewelers have used photography – Eleanor Moty’s work from the 1970’s comes to mind – and a few have considered the social construction of identity, nobody in the field has yet addressed the intersection of mass-media and the formation of the self as convincingly and powerfully as Sherman. The problem of shoehorning such ideas, which depend on using mass-media imagery, into the vehicle of jewelry has proven very difficult. There are, after all, limits to what a jewelry object can do effectively. The relative smallness of objects that might attach to the body, the limits of weight that portability imposes, the impracticality of directly employing certain mediums (like video or holograms): all these restrictions mean that jewelry can serve some intentions well, but many others poorly.

A new generation of jewelers is addressing issues of identity and social construction, but they are not using devices imported from the artworld. Instead, they employ forms and devices from traditional jewelry. (Jan Baum’s lockets, which contain mementos and texts, are an example where an artist uses a familiar jewelry context to speak to the identity question.) It’s significant that this new work appears to accept the limitations of jewelry.

The inherent restrictions of jewelry-making is simultaneously the greatest liability and the greatest asset of jewelry as an art form. While jewelry may not be suitable for many artistic agendas, its limits have a potent attraction: the majority of jewelers are interested in jewelry because the discipline offers a set of limits. These people disagree with one of the basic ground rules of modernism: that limits exist only to be surpassed.

The very idea of an “avant garde” presupposes incessant progress into ever-new territories, and also subtly implies that territory already occupied is not nearly as interesting. The proposition that established boundaries must be violated is one of the basic assumptions in twentieth-century Western art. The great figures in the Modernist pantheon, from Duchamp and Picasso to Johns and Warhol, all contributed to the revolutions and revisions of how art is defined. Artists like Jacques Lipchitz, who quit abstraction for figuration, are condemned for having abandoned their avant-garde ways. In the mainstream of Modernist art, limitations are automatically suspected of being antithetical to art itself.

Throughout this century, artists have been paring away all the unessential aspects of painting or sculpture. They came up with monochromatic painting and huge stainless-steel cubes, and then moved into conceptual art. Suddenly, in a radical departure from the past, thinking alone was sufficient to the activity of art. But when this process is taken to its logical conclusion, there are no further boundaries to transgress. Everything is permissible and possible: you can paint your face gold and carry a dead rabbit about an art gallery, explaining paintings to it (Joseph Beuys); you can tie yourself to another person for a year (Linda Montano and Tehching Hsieh); you can attempt to count to infinity (Jonathan Borofsky); and it’s all valid art. Some artists even investigated criminal acts and fatal self-mutilation. Apparently, there is no longer anything that cannot possibly be art. There are no limits. From now on, artists must deal with total and absolute freedom – and also a haunting sensation that every territory is familiar.

Many so-called “fine” artists are proud of the apparent openness of their fields, and disparage craft disciplines for their limitations. A sculpture teacher I know discourages students from taking craft courses, because, in his logic, the medium-specificity of craft imposes unreasonable limitations. For him, the freedom of 20th century art is authoritative, unquestionable, and desirable. However, he never considered the value of limits, nor the possibility that some people might desire a restriction on their choices.

The trick is to regard tradition not as a collection of ironbound rules, but a loose structure that allows room for creative movement. It may be a typically European misunderstanding to regard tradition as sacred dogma. A close look at any preliterate or ancient culture will reveal that tradition in the visual arts allowed for ongoing, organic changes. It also allowed for considerable variation and personal invention. People have decorated themselves for tribal ceremonies from New Guinea to Africa, and many of these performances are recorded in books and magazines. At first glance, a Western observer often thinks that all the patterns are identical, and every individual must be the prisoner of custom. But a longer look shows that every person is different, and that within a group style there is also divergence. Further study will reveal that tribal styles gradually evolve, reflecting changes in community and environment. Clearly, pre-literate peoples regarded tradition as a framework and a starting-point, not as a rulebook to follow blindly.

My point is this: the traditions of jewelry can be honored and understood, but not taken as holy scripture. The history of jewelry is far older than the history of painting, and far richer than the history of sculpture. Jewelry is firmly grounded in the human condition, and we are neither so enlightened nor so creative that we can afford to ignore the combined experience of hundreds of cultures and dozens of generations. At the same time, we must realize that not all lessons from the past are relevant today, and tradition can be tailored to fit present conditions. The past is not the only referent in modern jewelry.

A new type of jeweler has emerged since mid-century. Usually trained in a University-level art program, she is fully aware of the achievements of modern art. She often regards herself as an artist, and compares her activity to that of a sculptor. Frequently, assuming the role of artist means she feels responsible to artworld concepts, alongside (or, if she’s lucky, instead of) the economic demands of making a living. For increasing numbers of jewelers, jewelry has become a pure expression of thought and feeling, only loosely connected to the traditional roles of ornament.

The incursion of artworld values into the craft of jewelry-making has been ongoing for most of this century. Ever since the 1940’s, textbooks on the craft emphasized design over social meaning, which was an ideological position advanced by the Bauhaus and other early Modernist institutions. As jewelry instruction became a fixture of the art academy, it’s not surprising that the artworld’s privileging of concept (over materiality, function, or social meaning) should be internalized by young jewelers.

The same shift in values has affected all the craft disciplines that are taught at the University level. Fiber arts, ceramics, glass, woodworking, and enameling have all followed the same trajectory. (Blacksmithing, leather-working, and musical instrument making, not having found a place in the art academy, are much less influenced by formalist design and conceptual art.) The result has been the production of much sculpture made from craft materials. The vestige of function has become a referent, establishing a historical context for an object, rather than serving a physical or psychological purpose.

Of course, as jewelry embraces formal design values and art concepts, some of the old purposes of jewelry are diminished. As inventiveness becomes more important, the social coding of jewelry is neglected. Jewelers ambitious to become artists rarely make straight “social jewelry” that have familiar meanings: class rings; wedding and engagement rings; picture lockets; or religious symbols. Additionally, the rich and varied meanings of traditional non-white and non-European jewelry appear to have no place in college curricula. Among artist wannabees, jewelry’s former role as status symbol and portable bank account has been devalued. Of course, this development seems to be confined to the industrialized countries, where the influence of 20th century Western art is strongest.

Ornaments made out of precious stones and metal are called as Jewellery. There are different kinds of Jewellery such as Traditional, Fancy and Imitation Jewellery. Especially females are fascinated of jewellery. Jewellery enhances esthetics of the person. People wear Traditional Jewellery especially on some auspicious occasions or festivities such as marriages. Imitation jewellery is available for all range of people to wear it regularly or on some occasions. Now a days paper jewellery is also available. The latest trend of jewellery is antiques.

Jewellery is the safest way of investment. We can get money across the table using jewellery, whenever needed. Jewellery has an influence on stock market also. There are different kinds of precious stones used to embed in jewellery such as Jade, Diamond , Sapphire, Agate, Cats-eye, Coral Pearl and so on. Gold, Silver and Platinum are precious metals. Of them, gold has highest demand. Gold purity is defined in terms of carats. The carat indicates the amount of impurities added to the gold. Pure gold or Sovereign gold is 99.9% pure and is malleable.

Different kinds of jewellery can be made out of gold such as, Girdle, Armlet, Trinkets, Anklets, Toe-rings and so on. Usually jewelers bilk money from customers in this business. It is a multimillion dollar business and has high profits. On the flip side, it is difficult to protect jewellery. Anti-social activities takes place to acquire gold. People stoop down to any level to acquire gold. Also, in few places weapons are bartered against gold.

Though it is a pinch on the pocket to buy jewellery, more people attract towards jewellery and feel it as a status symbol.

These elegant earrings cleverly combine two looks in one; a pair of solitaire studs with detachable halos. Wear the sparkly studs on their own for a chic daytime look and then dress them up with the shimmering halos for a glamorous expression. Pair with the matching necklace for an exquisite set.

Cherish your unique memories in a vintage-style way with PANDORA’s innovative floating locket. Classic and elegant in design, its sterling silver frame and clear glass walls lovingly display and protect your meaningful treasures. This medium locket can display 3-4 petites making them appear as if they are floating in a miniature universe.

With its high shine polish and circular fields of sparkling stones, this open bangle offers a contemporary spin on classic elegance. Wear it as a simple statement piece or layer it with other bracelets and bangles for a bolder expression.

PANDORA designs, manufactures and markets hand-finished and modern jewellery made from genuine materials at affordable prices. PANDORA jewellery is sold in more than 65 countries on six continents through approximately 10,000 points of sale, including more than 800 concept stores.

The extensive range of PANDORA jewellery is a treasury of gift ideas for all women and occasions. With charms, bracelets, rings, earrings, necklaces and pendants, she can keep expanding her PANDORA collection with everlasting moments to match her style, and the combinations are endless. PANDORA jewellery will make the perfect gift for someone you care about – it is unique and special, just like her!

For the past 30 years, PANDORA has been committed to making high quality jewellery accessible to all the unique women of the world. Many facets, stories, moments and desires make each woman who she is – and make her beautiful. PANDORA seeks to inspire individuality in all women, and to help them tell their own stories.

As part of our commitment to advancing responsible business practices we want to make sure that you as our customers and consumers get as much information as possible about our products and the way we source and produce them.

In the menu to the left, you can find detailed descriptions of the materials used in our jewellery, as well as guidelines on how to clean and maintain your PANDORA products.

Sales of the Pandora brand began in Europe and it first entered North America in 2003. The company opened concept stores around the world before its franchising model began in Australia in 2009.Pandora products are sold in more than 100 countries on six continents through approximately 7,700 points of sale, including approximately 2,200 concept stores. The company employs over 22,300 people, of whom 13,200 are located in Gemopolis, Thailand, the company’s sole manufacturing site since 1989.

Pandora launched an online sales platform in Europe in 2011, and began working to expand its e-commerce to the majority of its markets including Australia.

Europe and the United States accounted for nearly 90% of group sales in 2014. The group announced a Chinese distribution deal in 2015, with plans to increase store numbers to “a couple of hundred” in China. In 2015, it bought out Oracle Investment’s shares in its Chinese distribution service.

World-renowned for its hand-finished and contemporary jewellery at affordable prices, PANDORA designs, manufactures and markets jewellery made from high-quality materials.

Inspiring women to embrace their individuality and express their personal style, PANDORA’s stylish and feminine jewellery captures the unforgettable moments and personal values in life.

PANDORA’s unique and detailed designs combining traditional craftsmanship with modern technology are sold in more than 100 countries across six continents through approximately 9,000 points of sale, including more than 1,800 concept stores.

With the pure white hue of the crystal pearl and an air of understated sophistication, this arresting ring design is an instant attention grabber. Created to be stacked with the other members of the Droplets series, it will elevate any ring combination with its timeless look.

Pandora A/S (often styled PANDORA) is an international Danish jewellery manufacturer and retailer founded in 1982 by Per Enevoldsen. The company started as a family-run jewellery shop in Copenhagen.

Pandora is known for its customizable charm bracelets, designer rings, necklaces and (now discontinued) watches. The company has a production site in Thailand and markets its products in more than 100 countries on 6 continents with more than 7,700 points of sale.

Pandora was founded in 1982 by Danish goldsmith Per Enevoldsen and his then wife Winnie Enevoldsen. The pair began on a small scale by importing jewellery from Thailand and selling to consumers. After a successful wholesale venture, in 1989 Enevoldsen hired in-house designers and established a manufacturing site in Thailand, where it is still located. With low production costs and an efficient supply chain, the Enevoldsens could provide affordable, hand-finished jewellery for the mass market. Pandora’s collection grew to include an assortment of rings, necklaces, earrings and watches. Pandora started selling its signature bracelets in 2000 after a patent and several years of development.

The Danish private equity group Axel bought a 60% stake in the company from the Enevoldsen family in 2008. Shares totalling DKK 9.96 billion (US$ 1.84 billion) were sold in an IPO in October 2010, one of the biggest IPOs in Europe that year, giving Pandora a market capitalisation of around DKK 27 billion. The company is publicly listed on the NASDAQ OMX Copenhagen Stock Exchange in Denmark and is a component of the OMX Copenhagen 20 index.

Pandora became the world’s third-largest jewellery company in terms of sales, after Cartier and Tiffany&Co. In 2011, more than one piece of Pandora jewellery was sold every second. Shares fell nearly 80% in 2011 after a shift in focus to higher-end designs alienated core customers, but performance recovered after a return to the more affordable mass market, with the group reporting revenue of DKK 11.9 billion and net profit in excess of DKK 3 billion in 2014.

PANDORA provides a universe of hand-finished and modern jewellery made from high-quality materials, including solid sterling silver and 14k gold, with man-made stones, natural gemstones, pearls, glass and leather.

Related to developing a Pandora charm bracelet depends on several factors.

Color related to the same is a hindrance. in some cases, the bracelet could be made to signify a rainbow and there could be stringent decisions related to the color scheme. The venture with regards to innovation with colors is what that makes Pandora popular.

For the eager ones, purple is the best fit. Red denotes love, battle, and comfort. The one common factor which the colors share is avidity and passion.

Featured are a plethora of purple customized Pandora beads who want to enrich their ornament with crimson. There are several options encompassing silver beads integrated with purple hearts, pink styled glass beads and beads that glow in purple or quartz.

In the scenario, the user does not have Pandora themed bracelets and has opted for a given brand of beads, the user could contemplate going for a crimson leather bracelet to add the intensity to the beads. By integrating the aspects of beads and bracelets, a pinkish red look can be selected. A completely developed bracelet opts for both Moulin Rouge and Heatwave

Even though the trademark of Pandora is its bracelets assortment, the pink themed jewelry from Pandora is also making strides.

Pandora has made quite an impact ever since its inception in 1982. The brand has evolved with respect to flexibility and has become a dominating leader in the domain.